Weaving Stories. The traditional costumes of Aguascalientes
- 1. Weaving Stories: Weaving Stories: The traditional costumes of Aguascalientes Museo Regional de Historia de Aguascalientes
- 2. The National Institute of Anthropology and History, the Board of Trustees of the San Marcos National Fair, the Association of Queens and Princesses of the FNSM, and the Regional History Museum of Aguascalientes present the temporary exhibition "Weaving Stories: The Traditional Costume of Aguascalientes," inaugurated with the display of twelve dresses from the collection of Yolanda Gutiérrez Hernández. Throughout her life, Yolanda has preserved documents, photographs, garments, and other objects linked to highly significant cultural expressions, such as the San Marcos Fair and the Competition to elect the Fair Queen. The dresses selected for this exhibition offer a unique look into the rich history of traditional clothing in Aguascalientes. Weaving stories, the traditional costume of Aguascalientes Beginning in 1970, public and trade policies shifted toward an economy that prioritized products made in Mexico. In this context, national expressions in clothing were promoted, reviving artisanal techniques such as embroidery and unraveling. Thus, the "Mexican style" was born, reflected, for example, in the designs of artisans from Aguascalientes, who handcrafted dresses that were worn in important competitions and events during the 1970s and 1980s.
- 3. Tanneries are workshops where hides are tanned and processed. They have existed in Aguascalientes since the Viceroyalty, when some merchants invested part of their capital in their establishment. For example, in the mid-18th century, José Paulino Emazabel built a tannery that operated for thirty years and later passed into the hands of Francisco Ruíz. Also, at the end of that century, the Spanish merchant Manuel Martín Mazorra became the owner of a cotton and wool textile factory, as well as a tannery. Tanneries, workshops, and factories: the textile tradition in Aguascalientes Another Spanish entrepreneur was Don Jacinto López Pimentel, who arrived in Aguascalientes in 1789 and, years later, established a large cloth factory called El Obraje in the Triana neighborhood. He employed up to 350 workers who processed 5,000 arrobas of wool each year, making it one of the largest in the country. Equally large was the San Ignacio Spinning and Weaving Factory, owned by Simón Pedro Cornu and Louis Stiker, organized in the style of the "industrial colonies" that emerged in England. In 1873, this factory received first prize at the Aguascalientes State Agriculture, Arts, and Industry Exhibition. Years later, in 1883, two Stiker brothers, Francisco and Valentín, arrived in the city and established the La Aurora factory.
- 6. Ramón Valdiosera Berman was born in Ozuluama, Veracruz, in 1918. From a young age, he displayed a strong artistic vocation and a deep interest in bullfighting, which he practiced for several years before deciding to dedicate himself to editing comic book publications, such as ‘Chamaco Chico’. Since the 1920s, Mexican nationalism influenced various fields, including the arts, education, and the creation of traditional costumes that represented the identity of each state in the Republic. In this context, starting in 1950, Valdiosera undertook the task of designing regional costumes for states that did not yet have a consolidated design. Thus, he created costumes for Nuevo León, Tabasco, Aguascalientes, Quintana Roo, Baja California, San Luis Potosí, and Veracruz, incorporating representative elements of local identity into each design. In 1955, during the San Marcos Fair, Valdiosera participated as a judge in a competition to select the regional costume of Aguascalientes. A national project, the regional costume and Ramón Valdiosera
- 7. Experience the art of cross-stitch in a fun and creative way. Just follow these steps: 1. Take the colorful crosses and place them on the magnetic board, following the design. 2. Watch how, stitch by stitch, your embroidery takes shape. 3. If you like, take a photo of your creation and share it on social media, tagging the museum: (LOGO FB) Facebook: @museoregionaldehistoriaags (LOGO INSTA) Instagram: @museoregionalaguascalientes 4. When you're finished, place the pieces so more people can enjoy this experience. Have fun, explore your creativity, and embroider with your heart!0 Didactic!
- 13. Tradition and Nationalism During the 1940s and 1950s, Mexico experienced a process of consolidation of revolutionary nationalism, an ideology that sought to strengthen national identity and promote the country's economic and social development following the Mexican Revolution. In this context, the search for a cultural and visual identity extended to the country's traditions and customs, including the traditional dress of the various regions. The dress worn by the women of the Bajío and Highlands of Jalisco from the second half of the 19th century, as described by the poet Ramón López Velarde—"with the skirt down to the bone and the neck down to the ear"—was characterized by its tight cut and wide, circular skirt. Towards the 1950s and 1960s, the Aguascalientes costume was enriched with elements representative of the region. Details such as the cockfight scene and the bunch of grapes, inspired by the famous Rivier vineyards, were incorporated. These symbols not only reflect the region's agricultural tradition, but also the fervor and identity of Aguascalientes, particularly linked to the San Marcos National Fair, one of the state's most representative events. The arrival of the railroad to the city made it easier for the crafts made here to be sold in other regions of the world. Artisans came to the railroad station to offer their creations to travelers, and within a few years, this generated a growing demand for thread-picking in the country's main cities, driving the rise of family workshops dedicated to this activity. At the beginning of the 20th century, there were several distribution houses, such as that of Mrs. Julia Fani de Felguérez, located on Pedro Parga Street. Even the Hotel Washington, a meeting place for travelers and local society, established itself as one of the most important points of sale for these products. The railroad and the unraveling, crossed paths of tradition.
- 15. Symbolic elements of the traditional costume The ensemble consists of a high-neck blouse with wide sleeves at the top and tight sleeves at the bottom, while the cut is fitted at the waist. The meticulous fraying, tucks, and hand embroidery are notable; elements that were once essential in the making of these garments and have, over time, been replaced by other ornamental techniques. The full skirt is made with "blade-shaped" cuts, which reveal, on the one hand, the traditional Aguascalientes fraying craftsmanship. On the other hand, the hand- or machine-embroidered section depicts the balustrade of the San Marcos Garden, the emblem of the state's most important celebration. The outfit is complemented by a spectacular ruffle, whose decorative details reproduce the arches of the Government Palace, intertwined with vines of bunches of grapes. This attire fuses past and present, paying tribute to the skill and creativity of the women of Aguascalientes.
- 16. Wine culture and grape growing are an essential part of the identity of the people of Aguascalientes. Therefore, when designing the typical, regional, or traditional costumes worn by the elected queens of the San Marcos Fair, symbolic elements representative of the region were incorporated. Among them, bunches of grapes were integrated as a decorative motif in various design proposals, reinforcing the sense of belonging and the cultural richness of the state.
- 17. A sample of the most traditional embroidery and fraying techniques in Aguascalientes In the mid-17th century, the word "decado" was used metaphorically to refer to a person recognized as an example of virtue and a model of perfection. From an early age, women learned to mend garments and make sashes, breeches, handkerchiefs, and sheets, as well as to embellish textiles with embroidery, fraying, or lace, practices traditionally associated with the feminine sphere.
- 18. One of the most representative traditions of Aguascalientes is deshilado, a textile art technique similar to embroidery. It is part of the state's cultural heritage and is especially emblematic in the municipality of Calvillo, one of the state's four Pueblos Mágicos (Magical Towns). Dehauling is done on the fabric by carefully lifting the warp or weft threads with the point of a needle and gently pulling them apart. Once the weft is formed or the threads are exposed, the designs are created using needle and thread in a process known in Mexico as rebordado. Regardless of its origins, dehauling was quickly adopted by the inhabitants of these lands, especially by women, who contributed their own designs and skills to shape the art we know today. The Dehauling Fabric tying and knotting techniques are divided into four main groups: Profiling, Filigree, Unraveling, and Openwork. The basic unraveling stitches in Calvillo Among the most popular stitches are: Bartack, Shell, Little Monkey, Snake, Do Me If You Can, Car Wheel, Jesus and Crown, Loin, Snow Stitch, Guava Blossom, Peach Blossom, and Tomato Blossom. Rococo Embroidery
- 19. Cross stitch is an embroidery technique that involves making X-shaped stitches to create decorative figures and motifs. Its origins date back to the ancient civilizations of Egypt, China, and Rome, although it gained great popularity in Europe between the 11th and 13th centuries. Cross Stitch Richelieu embroidery is a cutout embroidery technique that emerged in France during the 16th century and gained great popularity in the 18th century. Its name comes from Cardinal Richelieu, Louis XIII's chief minister, who promoted the lace industry in the country. This technique involves outlining figures, such as flowers and leaves, with buttonhole or scallop stitches. The inner areas of the design are then carefully cut out, creating empty spaces that give it a lace-like appearance. The different parts of the embroidery are connected by small thread bars called brides, which, in many cases, are adorned with picots to add decorative details. Richelieu Embroidery
- 20. The rebozo is a garment that remains relevant in fashion and connects us to Mexico as a key point on the trade routes that united the world. Although its exact origin is uncertain, it is known to have emerged during the Viceroyalty as a result of the fusion of Eastern, pre-Hispanic, and Spanish influences, becoming a symbol of cultural fusion. As a fundamental part of Mexican cultural identity, the Rebozo Contest was established in Aguascalientes in 1948 as part of the San Marcos Fair, preceding the Regional or Traditional Costume Contest. This competition, organized by the Social Assistance Trust, took place over three Sundays in April, as part of the traditional Mañanitas (Mañanitas) in the San Marcos Garden. It is reported that, in 1959, the Committee of Traditional and Social Events convened the Rebozo and Regional Costume Contest of Aguascalientes, further consolidating its importance in the celebration. The preamble, Rebozo Contest
- 22. Didactic! 1. Choose one of the regional dresses you'll find in this module. 2. Place it on the wooden doll, just like paper cutouts were made in the past. 3. When you're done, return each piece to its place so others can play and create too.
- 23. The first design for the Aguascalientes regional costume consisted of a high- necked dress with a scalloped bodice, waistband, and skirt adorned with one or two ruffles, complemented by boots. However, over the years, more elements were added that enriched the design. In 1959, Mr. Manuel Juri, president of the Fair Board, traveled to Mexico City and met with Mexican designer Ramón Valdiosera, who had previously judged the Aguascalientes Traditional Costume Contest. During their meeting, Juri told Valdiosera of his intention to incorporate elements of Aguascalientes' identity into the traditional deshilado dress and invited him to design the official costume. The typical regional costume
- 25. The Aguascalientes Traditional Costume Contest was a traditional event held annually during the San Marcos National Fair. During this competition, aspects such as "creativity, originality, design, grace, and charm" of the submitted dresses were evaluated. The contest categories included hand embroidery, machine embroidery, unraveling, and hand knitting, with original designs being a prerequisite. The event was organized by the Board of Trustees of the San Marcos National Fair, the Chamber of the Apparel Industry, and the Directorate of Tourist Services. It featured a specialized jury that selected the three best dresses, awarding first place to those that met all the established criteria. Over the years, the venue of the contest changed. In its first editions, the event was held in the Jardín de San Marcos, but in the 1980s, it moved to the Patio Domecq, becoming one of the Fair's most anticipated social events. The official regional costume In 2001, the Board of Trustees of the San Marcos National Fair held a special competition to design the Official Traditional Costume of Aguascalientes, a contest of great importance to the state's cultural heritage. The winner was renowned textile designer Jorge Campos Espino, whose design was established as the official costume and became an invaluable legacy for the intangible cultural heritage of Aguascalientes. Since then, the costume designed by Maestro Campos has been a symbol of the region's identity and tradition, reflecting the pride of its people and culture.
- 27. Needle and legacy: women who embroidered and unraveled tradition From a very young age, girls in Aguascalientes learned to embroider, unravel, and weave as part of their daily routine, both at home and at school. These practices, passed down from generation to generation, left a profound mark on female identity in the 19th and 20th centuries. The traditional costume of Aguascalientes was, and continues to be, a source of creativity for women. It combines techniques, knowledge, and affections that have enriched a collective cultural expression. As in other regions of the country, the regional costume not only represents a local aesthetic, but has also established itself as a powerful manifestation of intangible cultural heritage. This exhibition pays tribute to all those women who, with threads and fabrics, embroidered their thoughts, their desires, and their strength. Each piece gathered here is a testament to an intimate and collective history. Fabric was a refuge, resistance, and creation. In each stitch, silence also became a voice.
- 28. Ministry of Culture Claudia Curiel de Icaza Secretary of the National Institute of Anthropology and History Diego Prieto Hernández Director General of the INAH José Luis Perea González Technical Secretary of the INAH Juan Manuel Garibay López National Coordinator of Museums and Exhibitions René Alvarado López National Coordinator of INAH Centers Jesús Martínez Arvizu Director of Museums of the CNMyE Christian Medina López Velarde Director of the INAH Aguascalientes Center Violeta Tavizón Mondragón Director of the Regional History Museum of Aguascalientes Alma Gabriela Gutiérrez Galván President Martha Arcelia Velasco Pérez Member of the Board of Directors Exhibition Paola Ibarra Villa María Fernanda Serna Bernal Flor Margarita Andrade Contreras Gabriel Esparza Sandoval Research Paola Ibarra Villa Violeta Tavizón Curator Raquel de Primavera González Picasso Museum Design and Installation Coordination Verónica Balandrán González Preservation Paola Ibarra Villa Dissemination Jorge Ramírez Campos Security Association of Queens and Princesses of the National Fair of San Marcos
- 29. Levi Josafath Marín de la Peña González María Fernanda Serna Bernal Flor Margarita Andrade Cotera Gabriel Esparza Sandoval Juan Carlos Reyes Serrano Mounting Alberto Romero Garza Jorge Daniel Hernandez Perez Rodrigo Mejia Moisés Bernal Video from Aguascalientes Radio and Television We would like to especially thank all the staff of the Aguascalientes Regional History Museum who were involved in organizing this exhibition. SECRETARIAT OF CULTURE - INAH - MRHA BOARD OF TRUSTEES, ASSOCIATION, UAA Special thanks to Ms. Yolanda Gutierrez Hernandez, regional clothing collector. Traduction and Edition Dulce María Chávez A.